I'm going to smuggle it all in in my trousers, Colin, & just tell security I'm "excited" at the prospect of Linda Spa in leather trousers........

Looking at Ms Spa i would totally understand your predicament.........The closer you are to her the more you realise how damn lovely she is.........my lunchbox has enlarged considerably in my photo with her

TD actually said that their management turned Michael Mann down, saying they were too busy on Streethawk, without informing the band...they weren't impressed, although in the long run they felt that a very long running TV series might have been a millstone

What a goldmine of info you are! Thanks again.

Ok....I found this:

FOR TANGERINE DREAM, HOLLYWOOD CALLS TOO OFTEN TO GET THE SHOW ON THE ROADChicago Tribune, June 15, 1986 (Sunday, Final Edition)By Lynn Van Matre, Pop music critic.

...In 1981, the band provided most of the score for Michael Mann's "Thief," one of the first films to use pop music to enhance a mood and carry the action forward. Since then, they have worked on soundtracks for "Risky Business," "Wavelength," "Firestarter," "Flashpoint," "Heartbreakers" and, most recently, "Legend." After "Thief," Mann went on to make a bigger mark in television with"Miami Vice," featuring a score by Jan Hammer. Does Froese, who arguably helped pioneer the musical strategy that has contributed so much to the success of "Vice," feel just a little ripped off that Tangerine Dream didn't get in on the "Vice" action?"It's a funny thing about that," Froese says. "The truth is that we were supposed to do 'Miami Vice.' But Michael (Mann) was starting the pilot for that show at the same time we had signed up to do the music for another television series called 'Street Hawk.'"The producer of that show told Michael that we couldn't do 'Vice' because we were doing 'Street Hawk.' As it turned out, that wasn't true at all; we could have done both shows. But we didn't hear about all of this until sometime later, and when we found out we were not very happy. Because, of course, 'Street Hawk' turned out to be a flop and 'Miami Vice' took off. "But Jan did a fairly good job, and the series got what it needed," adds Froese. "So, it's OK."Today's dance-oriented synth-pop scene is OK with Froese, too--for other people, that is. You won't find him listening to any of it. "I would not want to say the music is not good," he says, "because a lot of people love it. But it's repetitious, and, to be honest, I have absolutely no interest in it."....

..."Poor Jan Hammer, " muses Froese. "I wouldn't blame anybody for doing what he did, but can you imagine working for two-and-a-half years on the same project, week after week? It would have driven us crazy"...

Electronic Sorcerers Reflex magazine Volume 1, Issue 9 by Rich Shupe

"...It was even worse when we did Streethawk. It was a nightmare. The problem was that we had to deliver a new sequence within five days and sometimes they were asking for a seqence of 50 or 55 minutes of music each time! So we were working sometimes 14 or 16 hours a day"

"To this day I don't know what Universal is doing with all those masses of music," simmers Froese "We are not allowed to release even a single out of the Streethawk music. They didn't even want to do the one single we put on Le Parc. That involved a long negotiation between lawyers and ourselves and we had to change the title on that song and so forth. They could release five LPs of that stuff. We wouldn't want to release all of the material in album form, but we could put together an LP of the best sequences. We know there is brilliant music there which has never been released. A lot of chasing music. I remember we did some experimental stuff with new ways of getting sequences together...."

We heard that Michael originally was interested in us because Thief was quite a big success for him personally and it was a kind of music that had not been heard in movie theaters before. So when he started thinking about the score for Miami Vice, he thought about us too."

"But we did not talk about it because at the same time we signed up for what was supposed to be another big TV series in America, so we could not even meet. When we signed the contract for Streethawk, it was supposed to be about thirty to forty sequences, but after a big take off the series died after twelve sequences and Miami Vice went on for years."

"As life goes, I was never depressed about it because I know Jan Hammer didn't know whether it was a huge burden or if he was quite lucky to sign for the series. It brought him a lot of money, but artistically I know that it is hard work to go on and do three or four sequences every month. That's about an hour and a half of music material." In this case, it appears that Jan Hammer attempted to compose in a similar style to Tangerine Dream. "That's true. Jan Hammer did lean his stuff quite closely to what we were doing specifically at that period of time, but what can you do about it? He is a very talented musician and overall he did a good job. I'm very happy if a talented and true musician on this planet has enough money to make a good living and can be creative. If there is sometimes a crossfade of interests, I would say as long as you are creative and original there is enough money and work for all of us."